Falmouth University Research Repository (FURR)

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ID: oai:repository.falmouth.ac.uk:1595
Date: 2015-10-20

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
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    <header>
      <identifier>oai:repository.falmouth.ac.uk:1595</identifier>
      <datestamp>2015-10-20T15:38:13Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Proto-tools considers the role of ther tool within artistic practice, both as a means to create material effect and as a device to progress a way of thinking. Locating the point of energy of the artwork not at the moment of its encounter with an audience, or indeed the market, but rather at the site of production, Proto-tools interrogates the interaction between the artist and the object in production.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1595/1/Proto-tools.jpg</dc:identifier><dc:language>en</dc:language><dc:publisher>Event Media Projects</dc:publisher><dc:relation>http://flattimeho.org.uk/events/proto-tools/</dc:relation><dc:relation>http://www.slashseconds.co.uk/colm-lally/14/129/280/submission/proto-tools/</dc:relation><dc:relation>http://www.colmlally.com/</dc:relation><dc:source>978-0-9576627-1-1</dc:source><dc:subject>hist_arts</dc:subject><dc:subject>phil_arts</dc:subject><dc:subject>sculpture</dc:subject><dc:title>Neil Chapman in discussion with Rehana Zaman / Colm Lally in discussion with Neil Chapman</dc:title><rioxxterms:author>Chapman, Neil</rioxxterms:author><rioxxterms:author>Lally, Colm</rioxxterms:author><rioxxterms:author>Zaman, Rehana</rioxxterms:author><rioxxterms:contributor>Lally, Colm</rioxxterms:contributor><rioxxterms:contributor>Blocker, Antonia</rioxxterms:contributor><rioxxterms:contributor>Gibson, Ruth</rioxxterms:contributor><rioxxterms:contributor>Fillingham, Peter</rioxxterms:contributor><rioxxterms:contributor>Gfader, Verina</rioxxterms:contributor><rioxxterms:publication_date>2013-11</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1594
Date: 2015-10-20

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:repository.falmouth.ac.uk:1594</identifier>
      <datestamp>2015-10-20T15:32:09Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Real Prediction Machines (RPMs)&#13;
&#13;
Modern day fortune-telling is far-removed from the mystical readings of natural and celestial phenomena of the past.&#13;
&#13;
Today it is all about data.&#13;
&#13;
Contemporary use of digital networked technology has effectively created a live global human behaviour laboratory with data scientists experimenting on an (often) unknowing pool of billions. The futures that might emerge from this research are as yet mostly unknown, but there are hints – as this data accumulates it can be analysed, mined and used in algorithms; patterns or trends invisible to the human observer can be identified and seemingly random events become predictable.&#13;
&#13;
Prediction algorithms are predominantly being exploited by big industries such as banking, insurance and commerce or examined in massive research projects such as the EU funded FuturICT project.&#13;
&#13;
The aim of Real Prediction Machines is take the promise of Big Data and prediction algorithms into the domestic domain, effectively translating or domesticating these complex emerging technologies into a plausible and desirable functional artefact.&#13;
&#13;
Individuals can select a specific event to be predicted such as a domestic argument; the likelihood of ones own death or the chances of a meteor strike. A service provider then determines the necessary data/ sensory inputs required for an algorithm to predict the event. The output from the algorithm controls a visual display on the prediction machine, informing the owner if the chosen event is approaching, receding or impending.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1594/1/Robjects_booklet_24%20page_final_sm.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>The University of Edinburgh</dc:publisher><dc:source>978-1-904443-60-5</dc:source><dc:subject>sustainable</dc:subject><dc:title>Robjects&#13;
Real Prediction Machines</dc:title><rioxxterms:author>Murray, Alan</rioxxterms:author><rioxxterms:author>Auger, James</rioxxterms:author><rioxxterms:author>Loizeau, Jimmy</rioxxterms:author><rioxxterms:author>Ramamoorthy, Subramanian</rioxxterms:author><rioxxterms:project funder_name="Design Informatics, University of Edinburgh">Robjects</rioxxterms:project><rioxxterms:publication_date>2014-09-10</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1592
Date: 2015-10-20

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:repository.falmouth.ac.uk:1592</identifier>
      <datestamp>2015-10-20T15:32:51Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Modern day fortune-telling is far-removed from the mystical readings of natural and celestial phenomena of the past.&#13;
&#13;
Today it is all about data.&#13;
&#13;
Contemporary use of digital networked technology has effectively created a live global human behaviour laboratory with data scientists experimenting on an (often) unknowing pool of billions. The futures that might emerge from this research are as yet mostly unknown, but there are hints – as this data accumulates it can be analysed, mined and used in algorithms; patterns or trends invisible to the human observer can be identified and seemingly random events become predictable.&#13;
&#13;
Prediction algorithms are predominantly being exploited by big industries such as banking, insurance and commerce or examined in massive research projects such as the EU funded FuturICT project.&#13;
&#13;
The aim of Real Prediction Machines is take the promise of Big Data and prediction algorithms into the domestic domain, effectively translating or domesticating these complex emerging technologies into a plausible and desirable functional artefact.&#13;
&#13;
Individuals can select a specific event to be predicted such as a domestic argument; the likelihood of ones own death or the chances of a meteor strike. A service provider then determines the necessary data/ sensory inputs required for an algorithm to predict the event. The output from the algorithm controls a visual display on the prediction machine, informing the owner if the chosen event is approaching, receding or impending.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1592/6/algo-final_AM.pdf</dc:identifier><dc:language>en</dc:language><dc:source>Crafting Narrative: Storytelling Through Objects And Making</dc:source><dc:subject>sustainable</dc:subject><dc:title>Crafting Narrative: Storytelling Through Objects And Making, Crafts Council&#13;
Pitzhanger Manor Gallery, Ealing (London). 10 September to 19 October 2014</dc:title><rioxxterms:author>Murray, Alan</rioxxterms:author><rioxxterms:author>Auger, James</rioxxterms:author><rioxxterms:author>Loizeau, Jimmy</rioxxterms:author><rioxxterms:author>Ramamoorthy, Subramanian</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1591
Date: 2015-10-20

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:repository.falmouth.ac.uk:1591</identifier>
      <datestamp>2015-10-20T15:31:32Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>As everyday products increasingly have the capacity to sense, make decisions, analyse and learn, designers need to understand the potential complexity and cross-disciplinary nature of designing 'behaviours' in interaction. If products are to become adaptable open-system learning sentients it may be that to design 'effective behaviour' demands that products become independent agents that have a flexible multi-purposeness leading to 'learnt, controlled and communicated sustainable behaviour'.&#13;
If Human agency is the capacity for human beings to make choices and to impose those choices on the world, there may be a need to examine the implications of a non human agency making choices and imposing those choices on the world. Artificial Social Intelligence [1] may need to be expanded beyond how robots interact [2] to a reflection on ‘designing socially acceptable intelligent artefacts’.&#13;
&#13;
To design 'interaction' is already a highly complex environment. Behaviours cannot be designed like you would a product feature. How can we develop a design education that allows Designers, Scientists and Engineers to develop tools and methods to allow a greater inclusion in intelligent product and service development?&#13;
&#13;
Alan Murray will use his experience as former Guest Director of the Funlab at the Design Academy Eindhoven, as former co-creator and Director of Design at the Faculty of Industrial Design, Technical University Eindhoven and as co-creator and Co-Director of Design Informatics at the University of Edinburgh to propose how we might effectively collaborate to develop multi-disciplinary teams to design speculatively in complex environments.</dc:description><dc:format>application/vnd.openxmlformats-officedocument.wordprocessingml.document</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1591/1/DDEI_India_Design_Council_2013.docx</dc:identifier><dc:language>en</dc:language><dc:publisher>India Design Council</dc:publisher><dc:source>-</dc:source><dc:subject>sustainable</dc:subject><dc:title>Designing Design Education for India&#13;
13th March to 15th March 2013 Pune, India&#13;
Conference Proceedings&#13;
Inda Design Council</dc:title><rioxxterms:author>Murray, Alan</rioxxterms:author><rioxxterms:publication_date>2014-05-30</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1589
Date: 2015-05-05

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:repository.falmouth.ac.uk:1589</identifier>
      <datestamp>2015-05-05T13:28:26Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A revised second edition of a paper first published as part of the proceedings of the Second International Conference of Art, Illustration and Visual Culture in Infant and Primary Education, University of Aveiro, Portugal, July 2012.&#13;
Blucher are an online international publisher of peer reviewed papers related to all things educational.&#13;
The paper examines the visual language of illustration in young audience education and how scientific themes might be compromised by a conflict of integrity for the truth and objectivity versus duplicity for prostration and acquiescence.</dc:description><dc:format>application/vnd.openxmlformats-officedocument.wordprocessingml.document</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1589/3/Pictures%20of%20new%20knowledge%20paper.docx</dc:identifier><dc:language>en</dc:language><dc:publisher>Blucher</dc:publisher><dc:source>2318-695x</dc:source><dc:subject>edu</dc:subject><dc:subject>illustr</dc:subject><dc:subject>sci</dc:subject><dc:title>Blucher Education Proceedings: 'Pictures of New Knowledge: A Dilemma of Fact or Fantasy' March 2015, Vol. 1 No. 2</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:publication_date>2015-03</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1588
Date: 2015-05-08

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
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ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
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      <datestamp>2015-05-08T13:18:58Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>An on-going theoretical investigation into the language of contemporary European graffiti. Debatable if considered illustration but certainly visual communication; whether political statement, a symbolic reference to something metaphorical or a drawn-written statement of celebration. Most 'illicit' public art can be described as either message or mischief! The 'artists' anonymous, all were found and photographed within a single square half mile of each other in the small Portuguese coastal town of Aveiro. First published as an example of empirical visual research in 'Illustration: Meeting the Brief, 2014 ISBN 978-1-4081-7377-0</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1588/1/graffiti%20portugal.jpg</dc:identifier><dc:language>en</dc:language><dc:publisher>Bloomsbury</dc:publisher><dc:source>978-1-4081-7377-0</dc:source><dc:subject>illustr</dc:subject><dc:subject>research</dc:subject><dc:title>Message or Mischief: the Language of Contemporary European Graffiti, 2014.</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:publication_date>2014</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1585
Date: 2015-05-05

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A conceptual diagram to convey the nature and development of landforms on Earth from its inception at the start of the solar system to the current day. Originally published by McGraw-Hill Education (USA)in 2006, was subsequently used as an exemplar of scientific diagram design in 'Illustration: A Theoretical and Contextual Perspective' 2007 ISBN 978-2-940373-51-2.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1585/1/Evolution%20spiral.jpg</dc:identifier><dc:language>en</dc:language><dc:source>General book publication</dc:source><dc:subject>illustr</dc:subject><dc:title>'Geologic Timeline of Planet Earth'</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:publication_date>2007</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1584
Date: 2015-05-05

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A 'blue-chip' advertising commission for ICI's international plant protection division. A product developed to kill all known 'harmful' insects: 'Actellic' kills vector insects; 'Imperator' kills flying insects; 'Cymperator' kills nuisance insects.&#13;
The brief was to visually conceive a chimeric fictionalised organism comprising several parts taken from a number of what was considered unpleasant and harmful insects: I created a 'superbug'; the head of a mosquito, thorax and forelimbs of a cockroach, abdomen and wings of a housefly, tail and sting of a scorpion. Originally commissioned for international consumption during the 1980's this image has subsequently been published and debated extensively regarding certain ethical dilemmas that confront contemporary professional illustrators and visual communicators. A specific irony was presented and published as part of my keynote lecture at CONFIA 2015 International Conference in Portugal, April 2015 (ISBN: 978-989-98241-9-5)and in my book 'Illustration: A Theoretical and Contextual Perspective'2007 (ISBN 13: 978-2-940373-51-2)- none of the species I selected are harmful to crop/cultivated plants, in fact some scorpions feed exclusively on locusts!</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1584/1/superbug.jpg</dc:identifier><dc:language>en</dc:language><dc:source>CONFIA 2015</dc:source><dc:subject>illustr</dc:subject><dc:title>'Superbug': If there was only one insect, we'd only make one insecticide' ICI Plant Protection Division</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:publication_date>2007</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1583
Date: 2015-05-05

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Alexandra, Princess of Denmark, married Edward Prince of Wales on March 10 1863.  From a role of European royal obscurity she was launched into a public life that was to dominate her world for almost fifty years.  As Princess of Wales she became one of the most photographed women of her generation and her appearance was reported almost daily in the press and disseminated through popular photographic images.  Alexandra has been the subject of a number of biographies since her death in 1925 but whilst all attest to the importance of her appearance in her public and private life, none of them have attempted to move further towards an analysis of her clothed body.&#13;
&#13;
Upwards of 130 objects relating to Alexandra are now held in ten different museums worldwide.  They range from glittering evening dresses to elements of daywear, shoes, coats, stockings and fans.  These remains of her corporeality can be ‘read’ and allow an interpretation that adds to the supposedly ‘known’ biographical subject.&#13;
&#13;
This paper will explore how Alexandra used dress to mask or disguise aspects of her physicality from the public domain.  From a supposed childhood scar on her neck to a serious bout of post-natal rheumatic fever, the scars and frailties of Alexandra’s royal body were carefully camouflaged through astute sartorial decisions.  Taking an object based methodology, surviving garments can reveal how these decisions were constructed in her working royal wardrobe.  &#13;
&#13;
As her aging body was crowned Queen Consort at the age of 58 in 1902 she adopted ever more glittering apparel in a bid to demonstrate her newfound majesty, but also I would suggest to distract observers from her fading beauty and thus protect herself from bodily reality.</dc:description><dc:format>application/vnd.openxmlformats-officedocument.wordprocessingml.document</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1583/1/Royal%20Bodies%20Conference%20Paper.docx</dc:identifier><dc:language>en</dc:language><dc:source>Royal Bodies Conference</dc:source><dc:subject>fash_design</dc:subject><dc:title>‘Think of me as I was now I am breaking up’ Queen Alexandra and the Art of Royal Camouflage 1863-1925</dc:title><rioxxterms:author>Strasdin, Kate</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1582
Date: 2015-05-05

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>As the world press disseminates images of the Duke and Duchess of Cambridge touring Australia, the concept of a carefully presented working royal wardrobe feels like a familiar one, ensuring that both sartorial and cultural expectations are realised and logistical considerations managed.&#13;
&#13;
It was not always thus, but during the second half of the 19th century and into the first decade of the 20th century, one celebrated figure successfully negotiated the realities of nomadic royalty.  Alexandra, Princess of Wales and from 1901, Queen Consort to Edward VII arguably rescued the British monarchy from the brink of crisis following Queen Victoria’s retreat from public life.  A young and vivacious Danish Princess, she married Edward Prince of Wales in 1863 and was launched into British society to become the public face of royalty.  Her popularity was enormous and this was in no small part due to her shrewd sartorial decisions.&#13;
&#13;
This paper will consider how Alexandra made her wardrobe work in her favour when travelling both in Britain and abroad, promoting the royal family in a recognisably modern fashion.  The management of her appearance was a carefully crafted affair and relied upon the skill of those who have been largely hidden from the historical record – the dressers and wardrobe maids, the directors of travel, messengers, dressmakers, tailors and hairdressers – who all ensured that the public persona of the Princess of Wales exceeded the expectations of the many thousands of British subjects who inevitably flocked to see her.&#13;
&#13;
Based on recently completed PhD research, I will consider how Alexandra managed the complexities of dressing and changing garments whilst travelling. Using evidence from surviving garments, diaries, letters and photographs, it reveals Alexandra’s recognition that with an increasingly sophisticated media machine her managed appearance was a powerful contributor to positive public perceptions.</dc:description><dc:format>application/vnd.openxmlformats-officedocument.wordprocessingml.document</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1582/1/Tailored%20Trades%20Paper.docx</dc:identifier><dc:language>en</dc:language><dc:source>Tailored Trades Network Conference</dc:source><dc:subject>fash_text</dc:subject><dc:title>‘A Working Royal Wardrobe – The Public Persona of Queen Alexandra’</dc:title><rioxxterms:author>Strasdin, Kate</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1581
Date: 2017-06-16

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ID: oai:repository.falmouth.ac.uk:1580
Date: 2015-05-05

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A presentation discussing censorship, freedom of expression, ethical and moral responsibility and which professional contexts of practice might diminish or increase. A reaction to the 'Charlie Hebdo' atrocity in Paris early 2015.</dc:description><dc:format>application/vnd.openxmlformats-officedocument.wordprocessingml.document</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1580/2/CONFIA%202015%20Keynote%20Transcript.docx</dc:identifier><dc:language>en</dc:language><dc:publisher>Edico IPCA</dc:publisher><dc:source>978-989-98241-9-5</dc:source><dc:subject>illustr</dc:subject><dc:title>'The Power and Influence of Illustration': An invited International Keynote Lecture at the 3rd Conference in Illustration and Animation (CONFIA 2015), Braga, Portugal, 11 April 2015</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:publication_date>2015-04-10</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1574
Date: 2017-03-10

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ID: oai:repository.falmouth.ac.uk:1573
Date: 2017-03-06

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&#13;
‘A startling meditation on the relation of seeing to saying, the possibility and impossibility of communication, and the very business of making and writing – Diagrams for Seriality is a work of fictioning in which set pieces and scenes, a cast of bodies and conceptual personae and a singular prose style produce a book that demands to be reread.’  (Endorsement text by Simon O’Sullivan)</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1573/1/CP07_Cover_06.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Copy Press</dc:publisher><dc:source>978-1-909570-00-9</dc:source><dc:subject>creative_writing</dc:subject><dc:subject>drawing</dc:subject><dc:subject>hist</dc:subject><dc:subject>phil_arts</dc:subject><dc:subject>research</dc:subject><dc:subject>sculpture</dc:subject><dc:subject>storytelling</dc:subject><dc:title>Diagrams for Seriality</dc:title><rioxxterms:author>Chapman, Neil</rioxxterms:author><rioxxterms:contributor>Lomax, Yve</rioxxterms:contributor><rioxxterms:publication_date>2014</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1572
Date: 2017-03-05

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>This article draws on a research study of submitted PhDs and interviews with a small group of artists. Research processes adopted by this diverse group manifest an exacting scrutiny of what it means to undertake research, that is, how research process can conceive of a subject of inquiry and adequately approach that subject. We find a high level of questioning about the legitimacy of research methodological assumptions about how and in what ways research methods become valid. For instance, is research that pursues and reinforces a proposed subject more useful to a depth of practice than one that resists any resolved confirmation of its subject because that subject is porous to its prevailing conditions both internal and external? We propose that such accountability, in relation to more conventional approaches to research, is entirely relevant to the development of vital research cultures in Fine Art.</dc:description><dc:language>en</dc:language><dc:publisher>Taylor &amp; Francis</dc:publisher><dc:source>1470-2029</dc:source><dc:subject>edu</dc:subject><dc:subject>hist_arts</dc:subject><dc:subject>lit</dc:subject><dc:subject>phil_arts</dc:subject><dc:subject>research</dc:subject><dc:subject>writing</dc:subject><dc:title>The Absenting Subject</dc:title><dcterms:dateAccepted>2014-06-01</dcterms:dateAccepted><rioxxterms:author>Chapman, Neil</rioxxterms:author><rioxxterms:author>Macleod, Katy</rioxxterms:author><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1571
Date: 2015-10-20

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Outsider article   Synopsis&#13;
&#13;
 &#13;
The article explores the current  surge of interest in the Outsider Art movement in the UK , looking back to the major exhibition at The Hayward in the 1970s and full circle to the recent exhibitions at The Hayward and Wellcome Institute. Connections are made between the work of major artists , including Henry Darger and Bill Traylor and work being created by contemporary illustrators who have clearly been impacted and inspired by the work .It also explores themes including ‘ Obsession ‘ . It also looks at emerging illustrators and students who may have taken on board an ‘ Outsider ‘ aesthetic with or without being aware of the roots of the influence. The article is a celebration of both ‘ Outsider Art ‘ and illustration and aims to acknowledge the very real importance of the ‘ Outsider ‘ in the 21st century.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1571/1/Varoom_24_OutsiderObsessions-red-1_Page_1.jpg</dc:identifier><dc:language>en</dc:language><dc:publisher>Association Of Illustrators</dc:publisher><dc:source>1750-483x</dc:source><dc:subject>illustr</dc:subject><dc:title>The Outsider Obsessions</dc:title><dcterms:dateAccepted>2013-12-13</dcterms:dateAccepted><rioxxterms:author>Scott, Linda</rioxxterms:author><rioxxterms:publication_date>2014</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1570
Date: 2015-10-20

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      <identifier>oai:repository.falmouth.ac.uk:1570</identifier>
      <datestamp>2015-10-20T15:34:13Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Abstract. &#13;
&#13;
An enquiry into the impact the Illustrator can have in raising awareness of the issue of conservation of endangered species of birds. This paper examines collaborations between Illustrators, Artists and organizations including Ghosts Of Gone Birds, The RSPB, Birdlife International and Operation Turtle Dove and documents the outcomes of collaborative events that were undertaken by participants mentioned earlier. The      enquiry will explore how primary research conducted at the annual Spring Hunt in Malta has lead to new knowledge and understanding of a challenging political issue and how further connections can be made and activities undertaken which can be catalysts for change.</dc:description><dc:format>application/msword</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1570/1/Confia%20research%202015%20%20Linda%20Scott.doc</dc:identifier><dc:language>en</dc:language><dc:publisher>IPCA  University   Portugal</dc:publisher><dc:source>CONFIA 2015</dc:source><dc:subject>geo_env</dc:subject><dc:subject>illustr</dc:subject><dc:subject>misc_arts</dc:subject><dc:subject>research</dc:subject><dc:title>Illustrator As Activist: Conservation of Endangered Species And the Role Of The Illustrator</dc:title><rioxxterms:author>Scott, Linda</rioxxterms:author><rioxxterms:publication_date>2015</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1565
Date: 2015-10-19

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      <identifier>oai:repository.falmouth.ac.uk:1565</identifier>
      <datestamp>2015-10-19T08:49:53Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Based within the context of community learning projects this paper will investigate the work and challenges associated with using photography as a tool to articulate research ideas. The study is ongoing and has been undertaken as part of a PhD research project entitled: Representing communities and the post-industrial landscape in the shadow of the “Cornish Alps” currently in its second year. This research aims to establish whether representations of the landscape impact on the community living in it. The focus of the enquiry is to identify whether a process of representation alters the relationship between people and place asking whether practice can “interpellate a subject of the signifier” (Burgin, 2011). &#13;
&#13;
Don Slater states; a “diorama - like most illusionism, and particularly like photography – is a demonstration of a technical power to transform the material of the world into representation.” (Slater, 1995) By considering the “Cornish Alps” as a diorama, a representation of landscape, the focus of the research will be to engage with the socio-economic relations (Benjamin, 1931) in the region and the relationship between a subject and its representation and establish whether arts practice can have a transformative impact on these conditions.&#13;
&#13;
Through community based workshops and photographic assignments participants have presented their memories, their lives and the places where they live using digital photography. “Ten things” refers to the series of images they have produced and the personal responses they have given when presenting their work. Through their photographs, the research examines how the participants have developed and modified their vision of the world around them and seeks to identify whether and how the creative practice of photography can be used as a research tool and where it may sit within a wider context of arts based practice research.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1565/1/clay_mine.jpg</dc:identifier><dc:language>en</dc:language><dc:source>Sensingsite</dc:source><dc:subject>geo_env</dc:subject><dc:subject>photography</dc:subject><dc:title>Re-imaging space &amp; memory</dc:title><rioxxterms:author>Hillman, John</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1564
Date: 2015-10-19

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      <datestamp>2015-10-19T08:49:50Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>As part of my 1st year PhD research “Representing communities and the post-industrial landscape in the shadow of the “Cornish Alps” I would like to present work which will consider one of my main research questions: Whether practice can interpellate a subject of the signifier. While I will make no attempt to answer this question fully at this stage I would like to begin by considering abjection and the discarded.&#13;
&#13;
The work will address a preliminary phase of research and will be based around a photographic study of objects from the China Clay Museum archive. The work will attempt to construct a narrative that “speaks” of the landscape without ever showing or revealing it. The subject matter will be considered as “objects of abjection”, distanced and displaced from their original context. My aim is that the series will look at the presence of the landscape within objects. These objects, and my representations of them, will tell a story not only of where they came from but also of themselves and ourselves as we read them in the work.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1564/1/REPRISE_10.jpg</dc:identifier><dc:language>en</dc:language><dc:source>Environmental Utterance</dc:source><dc:subject>geo_env</dc:subject><dc:subject>photography</dc:subject><dc:title>A Landscape of Objects</dc:title><rioxxterms:author>Hillman, John</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1563
Date: 2015-04-09

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      <identifier>oai:repository.falmouth.ac.uk:1563</identifier>
      <datestamp>2015-04-09T08:46:07Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>The unprecedented production and consumption of images and words we experience is in part, linked to advances in digital imaging and the Internet. It is also linked to the ease with which these tools enable opportunities to personally create and curate our own lives. Gary Winogrand once suggested, we photograph in order to see what something is like when it is photographed. However, we may have now entered a time when we behave for no other reason than ‘to be photographed’ or to update our social media status. It is as though, through these forms of representation, we determine who we are and where we are. &#13;
&#13;
Communities are many things; they are not just geographically based groupings. They are the shared interests and values of multiple relationships: Between people, between people and things and between people and places. This paper will explore how images and words may be used as tools for community groups to engage with who they are, how they view the world and their relationships with each other and where they live. Beginning with the premise that we see ourselves through a lens of representation, how faithfully that lens projects ‘who we are’ depends on where it is focused and who has control over what it produces. The paper will therefore consider whether, in a digital democracy, creative practice can actually have any political effect in the real world or whether it is a complacent and self-serving act.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1563/1/Uncertain_locations_PAPER.pdf</dc:identifier><dc:language>en</dc:language><dc:source>Writing Communities: People as Place</dc:source><dc:subject>photography</dc:subject><dc:title>Uncertain Connections: Between Text and Image</dc:title><rioxxterms:author>Hillman, John</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1560
Date: 2015-10-19

RIOXX

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      <identifier>oai:repository.falmouth.ac.uk:1560</identifier>
      <datestamp>2015-10-19T08:49:47Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>The phrase “Absent from work” was written in the notebook of a China Clay Mine Captain. The notebook, which contained everyday observations from the activities in the China Clay industry in St Austell, also contained, at the back, a list of names and dates of those miners who had been “absent from work”. As the artist John Cage noted: “When you start working, everybody is in your studio - the past, your friends, enemies, the art world, and above all, your own ideas - all are there. But as you continue painting, they start leaving, one by one, and you are left completely alone. Then, if you are lucky, even you leave.” &#13;
&#13;
This paper will explore the relationship between presence and absence in the context of the China Clay Area through photographic and video work, including images from the Wheal Martyn archive that have been produced as part of an on-going PhD research project entitled: Representing communities and the post-industrial landscape in the shadow of the “Cornish Alps”. It will consider how the landscape shapes the sense of place in the area of the clay mines by proposing that the sky tips and waste produce from the industry can be considered as a diorama.  This symbolism suggests both the presence of the ability to transform the environment and the absence of work and employment within the local community and the region. &#13;
&#13;
Ultimately asking whether creative arts practice can be used to re-present the perceptual experience of a place. It will take Jack Clemo’s loss of hearing and later loss of sight as a point of reference, framing how the absence or presence of different perceptual senses fold into and onto our understanding of where and who we are.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1560/1/Absent_from_work_01.jpg</dc:identifier><dc:language>en</dc:language><dc:source>Kindling the Scarp</dc:source><dc:subject>photography</dc:subject><dc:title>Absent from Work</dc:title><rioxxterms:author>Hillman, John</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1559
Date: 2015-04-09

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      <identifier>oai:repository.falmouth.ac.uk:1559</identifier>
      <datestamp>2015-04-09T08:44:57Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>As well as being credited as the inventor of photography, Daguerre is also known for perfecting the diorama. The diorama was a device that employed illusion to recreate the world and transport its audience or participants through time or to another place. The social production of landscape especially that associated with industrial activity leaves the marks of history and traces memory in the form of ‘unintentional dioramas.’ Perhaps sharing some of the concerns of ‘Earthworks’ or ‘Land Art’ the post-industrial landscape considered as diorama can be seen to be analogous to the human condition and material changes in society. Nevertheless, in photographing such a potent landscape, as Brecht would put it, there may be little or no attempt to understand the conditions that create it.&#13;
&#13;
The “Cornish Alps” is a term used by locals to describe the visible mounds of waste produced by china clay mining in the predominantly rural setting of central Cornwall. The conical sky-tips, like miniature Alpine peaks, are a post-industrial diorama located within a rural setting. Following research as part of an ongoing photography practice based PhD, this paper will reflect on people, communities, industry and landscape. It will explore what the landscape represents to the community and how through the process of participatory workshops and photographic practice the rural can be transformed in the minds of those who live there. This research will also examine whether and how Lefèbvre’s “three moments of social space” (spatial practice, representations of space, representational space) can be meaningfully applied to post-industrial landscapes and their communities. &#13;
&#13;
By engaging with community based workshops and encouraging the use of photography to re-image the space where they live, it may be possible to gain a greater understanding of how photographic practice can shape an understanding of the rural. This may also reveal not only a new perspective on the rural but also a modified view of the photographic visualisation.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1559/1/seeing_and_living_PAPER_JH.pdf</dc:identifier><dc:language>en</dc:language><dc:source>Visualising the Rural</dc:source><dc:subject>photography</dc:subject><dc:title>Seeing and living in the diorama of the post-industrial landscape.</dc:title><rioxxterms:author>Hillman, John</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1558
Date: 2017-05-25

RIOXX

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      <datestamp>2017-05-25T15:45:49Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>This thesis explores the ways in which suspension of disbelief works in digital games. Primarily concerned with how players relate imaginatively to the often major dissonance between gameplay and narrative in digital games, this thesis questions how the literate players of games reconcile these complex texts imaginatively. Proposing that Samuel Taylor Coleridge's concept of suspension of disbelief is a complicated process often cited rhetorically rather than given its theoretical due, this thesis aims to rehabilitate the term and turn it into a useful, sharpened tool for games studies. Digital games themselves are also seen to be an intense new realm of possibilities for the suspension of disbelief, and textual analysis of games which approach the fourth wall or the suspension of disbelief on their own terms helps to make this clear.&#13;
&#13;
Beginning by defining the differences of games compared to other media, the thesis goes on to define suspension of disbelief in both its historical and modern contexts and see how it fits with games, isolating three key problems with uniting the concept with the medium. The three chapters which follow looked in more depth at the problems of the skilled reader, fundamental activity and dissonance through investigations into games’ textual construction, the mindsets they engender in players and their reformulation of the fourth wall. The final section looks at the conclusions working together to achieve the dual aims of proposing a new model for game reading which centres around a willed disavowal of presence on the part of the gamer combined with the gamer's taking up of a role offered by the game-text, and rehabilitating both the term and the concept of suspension of disbelief.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1558/1/Game-Playing-Role%20-%20the%20suspension%20of%20Disbelief%20in%20Videogames%20Douglas%20Brown.pdf</dc:identifier><dc:language>en</dc:language><dc:subject>digital_games</dc:subject><dc:subject>drama</dc:subject><dc:subject>eng_lit</dc:subject><dc:subject>phil_psy</dc:subject><dc:title>Game-Playing-Role</dc:title><rioxxterms:author>Brown, Douglas</rioxxterms:author><rioxxterms:type>Thesis</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1557
Date: 2015-10-19

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      <identifier>oai:repository.falmouth.ac.uk:1557</identifier>
      <datestamp>2015-10-19T08:49:44Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Based within the context of community learning/participatory photography projects this paper will investigate the work and challenges associated with using photography as a tool for enquiring into the relationship between people and place through a process of representation. It will also consider photography as a method for articulating research ideas. The research study is ongoing and has been undertaken as part of a PhD research project entitled: Representing communities and the post-industrial landscape in the shadow of the “Cornish Alps” currently in its second year. This research aims to establish whether representations of the landscape impact on the community living in it. The focus of the enquiry is to identify whether a process of representation alters the relationship between people and place asking whether practice can “interpellate a subject of the signifier” (Burgin, 2011). &#13;
&#13;
Don Slater states; a “diorama - like most illusionism, and particularly like photography – is a demonstration of a technical power to transform the material of the world into representation.” (Slater, 1995) By considering the “Cornish Alps” as a diorama, a representation of landscape, the focus of the research will be to engage with the socio-economic relations (Benjamin, 1931) in the region and the relationship between a subject and its representation and establish whether arts practice can have a transformative impact on these conditions.&#13;
&#13;
Through community based workshops and photographic assignments participants have presented their memories, their lives and the places where they live using digital photography. “Ten things” refers to the series of images they have produced and the personal responses they have given when presenting their work. Through their photographs, the research examines how the participants have developed and modified their vision of the world around them and seeks to identify whether and how the creative practice of photography can be used as a research tool and where it may sit within a wider context of arts based practice research.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1557/1/theCornishAlps_Chapter.pdf</dc:identifier><dc:language>en</dc:language><dc:source>Regionalism &amp; Representation</dc:source><dc:subject>photography</dc:subject><dc:title>Ten things to take with me</dc:title><rioxxterms:author>Hillman, John</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1556
Date: 2015-04-09

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<record>
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      <identifier>oai:repository.falmouth.ac.uk:1556</identifier>
      <datestamp>2015-04-09T08:41:41Z</datestamp>
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    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>This paper considers how the juxtaposition of disparate perceptual elements forms the experience of encountering the image. We argue that the image is perhaps best understood not as a unitary narrative but as a fragmentary encounter. This poses a problem for scholars who use photographs in their research. What must be bracketed or exposed so that the researcher can engage with photographic sense-making given this paratactic encounter? &#13;
&#13;
To address this methodological quandary, this paper considers how two seemingly irreconcilable subjects — community based participatory photographic practices and 3D fetal photography — organize an ongoing conversation about affect, subjectivity and power relationships. We ask: What are the image researcher’s obligations to understand the multiple clauses that arise from or organize the viewer's encounter with the photograph? The focus is to identify how viewership constructs the understanding of images. To be interested in the power of the photograph is to engage with a process that deals with the real exterior and psychological interior spaces. As Bergson suggested, the ‘image’ offers transcendence between the object (exterior) and consciousness (interior) and thus the very capacity to engage multiple, impartial encounters. These two spaces (object-exterior and conscious-interior) we argue, are often understood or articulated through narratives and memories that may express something of the power of the photograph and the agency of the viewer. Drawing on Bourriaud’s relational aesthetics, the research has so far indicated that the function of photography and the photograph may be to create a social circumstance in which these exterior and interior spaces intersect, organising and joining random fragments of perception. How can scholars engage fruitfully with this multiplicity?&#13;
&#13;
To address this we consider whether the power of the image is not in what it represents but in what it draws together. If the object of photography is not the image itself, but the thing-power of the image, which, again, is inherently capable of producing and being produced by multiple encounters, then how are we to use photographs in our research? We argue that if the power of images is not “a given” but rather one that must be inferred, then a further exploration of the affective and emotional responses to images is needed. This may lead to an enhanced understanding of how responses to images are interwoven and embedded within our ideological frameworks, and further, how these frameworks themselves both stabilize but also potentially limit our image-knowledge. In turn this analysis serves to revise our understanding of the complex relationships that perpetuate and make possible photographic meaning.</dc:description><dc:language>en</dc:language><dc:source>Photomedia 2014</dc:source><dc:subject>photography</dc:subject><dc:title>Parataxis, power and the photograph</dc:title><rioxxterms:author>Hillman, John</rioxxterms:author><rioxxterms:author>Niva Millious, Victoria</rioxxterms:author><rioxxterms:publication_date>2014</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1555
Date: 2015-10-19

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>The image is described by Flusser as being a significant surface. He suggests that it is the process of looking over such a surface that reveals in the image its significance. Through an exploration of practice and the photograph, it is proposed that the digital image is less of a fixed surface and more of a demotic space, into which the construction of personal narratives occurs. The digital image, disconnected from surface and its indexical subject, is argued to be a&#13;
virtual representation of a relationship between memory, thought, and significance. As Victor Burgin noted, photography contributes to hegemonic common sense and to the process of the general public exchanging meanings. Therefore, this modified understanding of the image, space, and surface may usher in a sense in which photography can be described as an actant.</dc:description><dc:language>en</dc:language><dc:publisher>Common Ground Publishing</dc:publisher><dc:source>2154-8560</dc:source><dc:subject>photography</dc:subject><dc:title>Virtually Invisible - Photography and the Image in the Demotic Space</dc:title><rioxxterms:author>Hillman, John</rioxxterms:author><rioxxterms:publication_date>2014</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1554
Date: 2015-04-09

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      <identifier>oai:repository.falmouth.ac.uk:1554</identifier>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Based within the context of community learning projects this paper will investigate using digital photography as a tool for enquiring into the relationship between people and place. The study is ongoing and is part of a PhD research project entitled: Representing communities and the post-industrial landscape in the shadow of the “Cornish Alps” currently in its second year. This research aims to establish whether representations of the landscape impact on the community living in it. The focus is to identify whether a process of representation alters the relationship between people and place.&#13;
&#13;
Through community based digital photography workshops, courses and photographic assignments participants have presented images of their memories, their lives and the places where they live. “Ten things” refers to the projects they produced and the personal responses they&#13;
have given when presenting their work. Through their digital photographs, the research examines how participants developed and modified their vision of the world and seeks to identify how the practice of digital photography can be used as a research tool and whether arts practice can have a transformative impact on the relationship between a subject and its representation. It also seeks&#13;
to establish how the nature of digital photography as an instant, democratic and creative tool can be used in community based projects to quickly encourage, amongst other things, cohesion, debate and discussion.</dc:description><dc:language>en</dc:language><dc:publisher>BCS Learning and Development Ltd</dc:publisher><dc:source>1477-9358</dc:source><dc:subject>photography</dc:subject><dc:title>Ten things to take: a community education&#13;
project to re-image space place &amp; memory&#13;
using digital photography</dc:title><rioxxterms:author>Hillman, John</rioxxterms:author><rioxxterms:publication_date>2013</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1551
Date: 2015-02-23

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Possible prehistoric origin; provenance unknown. These are to be the first published illustrations of specimens analysed by microscope and separated from particles taken from a sea-bed fauna bearing ecosystem of the North Atlantic.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1551/1/Challenger%20artwork.jpg</dc:identifier><dc:language>en</dc:language><dc:source>'The Origin of Life': A Visual Narrative</dc:source><dc:subject>illustr</dc:subject><dc:subject>sci</dc:subject><dc:title>Unidentified microscopic zooplankton of the HMS 'Challenger' expedition, 1873. In collaboration with the British Museum of Natural History</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1549
Date: 2015-03-10

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&#13;
This invited keynote was based on a commissioned article published in 'Varoom', the Journal of the British based Association of Illustrators and entitled 'Research: The Future'. The general thrust of the presentation highlighted the importance of research as a given expectation for all academics in higher education and detailed how illustration and authorship underpinned by research might greatly benefit one's teaching practice and future career aspirations.</dc:description><dc:format>text/rtf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1549/1/Alan%20Male%20The%20Future%20of%20Research%20Edit%20V2.rtf</dc:identifier><dc:language>en</dc:language><dc:subject>edu</dc:subject><dc:subject>illustr</dc:subject><dc:subject>research</dc:subject><dc:title>Conference Keynote: 'Research: The Future for Teaching Illustration'&#13;
Bi-annual Educators Symposium, Society of Illustrators, New York, USA, 9 October 2010</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1547
Date: 2015-02-23

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The Scientist&#13;
August 2007, Vol. 21, Issue 8</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:author>Grant, Bob</rioxxterms:author><rioxxterms:publication_date>2007-08</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1545
Date: 2015-02-27

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A joint authorship creating a large-format non-fiction book for a juvenile, chapter book audience (4-8). An original format and idea.&#13;
The premise is to depict extremes in morphological diversity related to the animal kingdom by illustrating comparisons at life size on the page.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1545/1/Large%20as%20Life.jpg</dc:identifier><dc:language>en</dc:language><dc:publisher>Miles Kelly Publishing, UK Ltd</dc:publisher><dc:source>1-902947-50-9</dc:source><dc:subject>illustr</dc:subject><dc:title>Large as Life</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:author>Parker, Steve</rioxxterms:author><rioxxterms:publication_date>2000</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1544
Date: 2015-03-02

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ID: oai:repository.falmouth.ac.uk:1543
Date: 2015-03-02

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ID: oai:repository.falmouth.ac.uk:1542
Date: 2015-02-23

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ID: oai:repository.falmouth.ac.uk:1531
Date: 2016-11-03

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ID: oai:repository.falmouth.ac.uk:1530
Date: 2015-02-02

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Struggling to answer, the performer is a mix of oracle and puppet. Operated by the participants who contribute their offerings, a response or reaction is generated in him. His stammers and sputters elicit further prompts from the listeners as he is turned into an automated speaker.</dc:description><dc:language>en</dc:language><dc:source>Experimentica 14</dc:source><dc:subject>creative_writing</dc:subject><dc:subject>digital_media</dc:subject><dc:subject>phil_arts</dc:subject><dc:subject>theatre</dc:subject><dc:title>answering machine</dc:title><rioxxterms:author>Leahy, Mark</rioxxterms:author><rioxxterms:publication_date>2014-11</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1518
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:1484
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:1290
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:1285
Date: 2015-10-19

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ID: oai:repository.falmouth.ac.uk:1283
Date: 2017-05-04

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>In these mercurial poems, real and imaginary events combine with overheard, quoted and misquoted voices to produce a slippery and unreliable series of opinionated poems. What appears at first to be heartfelt confessions reveal themselves to be exercises in ventriloquism, argumentative fictions that seek to subvert and surprise the reader.</dc:description><dc:language>en</dc:language><dc:publisher>Shearsman</dc:publisher><dc:source>9781848611528</dc:source><dc:subject>creative_writing</dc:subject><dc:title>Wildlife</dc:title><rioxxterms:author>Loydell, Rupert</rioxxterms:author><rioxxterms:publication_date>2011</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1271
Date: 2015-10-19

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>'Just What You Need', 'A Matter for Debate', and 'The Museum of Numbers'</dc:description><dc:language>en</dc:language><dc:publisher>Routledge</dc:publisher><dc:source>19433107</dc:source><dc:subject>creative_writing</dc:subject><dc:title>Three Poems</dc:title><rioxxterms:author>Loydell, Rupert</rioxxterms:author><rioxxterms:publication_date>2013-11</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1270
Date: 2015-10-19

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>A book-in-a box containing a set of original print postcards, an essay booklet, and an anthology of poems.&#13;
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Also available as a numbered edition containing one original painting.</dc:description><dc:language>en</dc:language><dc:publisher>Like This Press</dc:publisher><dc:source>9781909506008</dc:source><dc:subject>creative_writing</dc:subject><dc:subject>phil_arts</dc:subject><dc:subject>public</dc:subject><dc:subject>religion_arts</dc:subject><dc:title>Tower of Babel</dc:title><rioxxterms:author>Loydell, Rupert</rioxxterms:author><rioxxterms:contributor>Loydell, Rupert</rioxxterms:contributor><rioxxterms:publication_date>2013</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1269
Date: 2015-10-19

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>interviews, essays &amp; conversations</dc:description><dc:language>en</dc:language><dc:publisher>Shearsman</dc:publisher><dc:source>9781848612990</dc:source><dc:subject>creative_writing</dc:subject><dc:subject>journalism</dc:subject><dc:subject>prof_writing</dc:subject><dc:title>Encouraging Signs</dc:title><rioxxterms:author>Loydell, Rupert</rioxxterms:author><rioxxterms:publication_date>2013</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1268
Date: 2015-10-19

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      <datestamp>2015-10-19T08:48:13Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Five sequences of linguistically-driven word patterns which draw on the visual and written work of named photographers to explore ideas of seeing, language and being.</dc:description><dc:language>en</dc:language><dc:publisher>Shearsman</dc:publisher><dc:source>9781848613102</dc:source><dc:subject>creative_writing</dc:subject><dc:title>Ballads of the Alone</dc:title><rioxxterms:author>Loydell, Rupert</rioxxterms:author><rioxxterms:publication_date>2013</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1255
Date: 2017-05-25

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      <identifier>oai:repository.falmouth.ac.uk:1255</identifier>
      <datestamp>2017-05-25T10:29:55Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>As a contribution to the notion of  ‘beyond the book’ I will be presenting and reflecting on Escape from the Temple of Laughter, a multi-modal children’s novel which I published in the mid-90s. Starting from a consideration of the book as both a container and a site for writing, this children’s book was one with very porous boundaries. Its contents literally spilled out of it, escaping the totalising control of the codex. For example, rather than a series of maps being illustrated within the text itself, they exist as a set of separate objects. And the same is true of machines, games, devices. mini-books and stickers. These elements could be thought of in the same sense as an ‘exploded view’ of the book which asks the reader to establish the shifting relationships between these elements and the narrative itself. At the same time, each ‘escape’ in itself constitutes the possibility of a new text, taking the reader further and further from the main narrative. This brings to mind Laurence Sterne in Tristram Shandy, . &#13;
‘ Digressions, incontestably, are the sunshine;—they are the life, the soul of reading!—take them out of this book, for instance,—you might as well take the book along with them;—one cold eternal winter would reign in every page of it;’ &#13;
&#13;
&#13;
At the time of publication, pre-Web 2.0, Escape from the Temple of Laughter was already a hypertext work. The book is now in the process of digitisation and the second half of the presentation will consider what this means to recontextualise the book in this way. Is it a genuine move ‘beyond the book’, or merely an alternative mode of dissemination? Does digitisation add anything new to the text, or is it foregrounding certain features which are already inherent in the print version? Is digitisation a rupture with print culture or a move across a spectrum? Will the book ‘dematerialise’ as a result of digitisation or will it take on a new form of materiality with different signifying qualities?</dc:description><dc:format>application/vnd.openxmlformats-officedocument.wordprocessingml.document</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1255/3/Beyond%20the%20book.docx</dc:identifier><dc:language>en</dc:language><dc:source>L'objet-livre: Du papier au numérique</dc:source><dc:subject>eng_lit</dc:subject><dc:subject>research</dc:subject><dc:subject>writing</dc:subject><dc:title>Escape from the Temple of Laughter: From book object to digital event</dc:title><dcterms:dateAccepted>2014-11-21</dcterms:dateAccepted><rioxxterms:author>Fletcher, Jerome</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1190
Date: 2017-03-01

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:license_ref start_date="2014">http://www.rioxx.net/licenses/all-rights-reserved</ali:license_ref><dc:description>This chapter examines Sam Mendes’ films; American Beauty (1999), Revolutionary Road (2008) and Away We Go (2009). These films explicitly scrutinize white middle class men using a version of the colonial, white, male gaze. As this gaze is re-turned onto white men, instead of emphasising a collective and privileged identity, individuality is highlighted, showing white men to be confused and powerless. This chapter argues that the white gaze that disempowered the marginal for so long works in a very different way when applied to white men and Mendes’ injunction to ‘look closer’ in fact allows them to melt back into invisibility.</dc:description><dc:language>en</dc:language><dc:publisher>Palgrave Macmillan</dc:publisher><dc:source>978-1-137-36363-3</dc:source><dc:subject>film_tv</dc:subject><dc:title>"Look Closer": Sam Mendes's Visions of White Men</dc:title><rioxxterms:author>Heholt, Ruth</rioxxterms:author><rioxxterms:publication_date>2014</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.1057/9781137363640</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1188
Date: 2017-03-03

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    <header>
      <identifier>oai:repository.falmouth.ac.uk:1188</identifier>
      <datestamp>2017-03-03T12:34:10Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>This article looks at the ghost tales of the prominent mid-Victorian spiritualist Catherine Crowe. In an early precursor to the Society for Psychical Research’s 1895 ‘Census of Hallucinations’, her most famous book The Night Side of Nature (1848) published people’s tales of poltergeists, prophetic dreams, ghost sightings and uncanny coincidences through stories, anecdotes and reported personal experience.  Crowe believed in the naturalness of the super-natural and her intention was to present the plethora of what she saw as ‘evidence’ to the scientific community for a hearing and as a starting place for examination.  The body of evidence Crowe presented however, far from being objective, distanced, testable or repeatable, was subjective, personal, anecdotal and transient.  Placing emphasis on intuition and experience, Crowe wanted science to look in a different way at psychic experiences, and to expand its narrow, supposedly rational and objective vision.  Her tales look directly at white, upper class Victorian men and their bodies are presented for scrutiny as part of the evidence she wants (masculine) science to look at.  This article argues that these ghost tales disrupt any narratives of unified, whole masculinity through the visibility and the presence of the male body and the questioning of science and rationality. Today Crowe has fallen out of fashion, however her work has proved to be prophetic in its concerns.  This chapter argues that in Crowe’s own bodies of evidence, she blends the empirical and the spiritual, the objective and the subjective in a way that undermines the dominant certainties of science, empirical vision and masculinity.</dc:description><dc:format>application/msword</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1188/1/Victoriographies%20article.doc</dc:identifier><dc:language>en</dc:language><dc:publisher>Edinburgh University Press</dc:publisher><dc:source>2044-2416</dc:source><dc:subject>lit</dc:subject><dc:title>Science, Ghosts and Vision: Catherine Crowe's Bodies of Evidence and the Critique of Masculinity</dc:title><dcterms:dateAccepted>2014-01-02</dcterms:dateAccepted><rioxxterms:author>Heholt, Ruth</rioxxterms:author><rioxxterms:publication_date>2014-05-01</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1187
Date: 2017-03-06

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>This article looks at the television programme 'Most Haunted' as a democratic space of amateur ghost hunting.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1187/1/03_heholt.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Cariccu editore</dc:publisher><dc:source>1823-3967</dc:source><dc:subject>lit</dc:subject><dc:title>Subversive Ghost Hunting: A-Technology, the Imagination and the Gothic Spaces of Most Haunted</dc:title><dcterms:dateAccepted>2012-01-01</dcterms:dateAccepted><rioxxterms:author>Heholt, Ruth</rioxxterms:author><rioxxterms:publication_date>2012</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>AM</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1159
Date: 2015-05-05

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ID: oai:repository.falmouth.ac.uk:1148
Date: 2015-05-05

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ID: oai:repository.falmouth.ac.uk:1147
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:1145
Date: 2017-03-10

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ID: oai:repository.falmouth.ac.uk:1134
Date: 2017-03-06

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The performers narrate a walk that switches between the ‘here and now’ of the story and dream-like memory, using live foley to create a hyper-realistic world of sound for the piece.</dc:description><dc:format>text/html</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1134/1/index.html</dc:identifier><dc:language>en</dc:language><dc:subject>music</dc:subject><dc:subject>theatre</dc:subject><dc:title>Whisper</dc:title><rioxxterms:author>Reeder, Philip</rioxxterms:author><rioxxterms:author>Proto-type Theatre</rioxxterms:author><rioxxterms:publication_date>2007-07-01</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1133
Date: 2017-03-06

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While the duration of most human-generated sounds are determined by the information they communicate, musicians and sound artists working at the margins of time have created fascinating works built with sounds of extreme brief- or long-ness, from Iannis Xenakis to Curtis Roads’ micro sounds, punk rock’s energetic brevity to John Cage, or Indian ragas and Justin Bieber’s U Smile played at 800% speed. In this exhibition, sources as diverse as insects, spray paint cans, found records, grinding teeth, and breaking ceramic bells are transformed into strange, ethereal, harsh, and meditative sounds that are both familiar and new, exploring the extremes of duration.&#13;
&#13;
In addition to the exhibition, a free limited-edition compilation CD was created with hand screen-printed covers by artist Gregory Scott Cook and an essay by curator Jeff Thompson. The CD will also available as a free digital download below.&#13;
&#13;
Participating artists&#13;
&#13;
Ariel Benjamin, Sophia Brueckner, Gregory Chatonsky, David Colagiovanni and Mellissa Haviland, Zorica Colic, Bryant Davis, David Dunn, Phil Julian, Ron Lambert, Flounder Lee, Philip Mantione, Orange Head (Pol Malo), Michael James Olson, Brittany Ransom, Philip Reeder, and Diana Salazar.</dc:description><dc:language>en</dc:language><dc:subject>digital_music</dc:subject><dc:subject>music</dc:subject><dc:subject>public</dc:subject><dc:subject>sound_art</dc:subject><dc:title>Chopped and Stretched</dc:title><rioxxterms:author>Reeder, Philip</rioxxterms:author><rioxxterms:publication_date>2014-02-02</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1132
Date: 2017-03-06

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&#13;
Brimming with pictures and texts by artists and members of the jury, this book documents the outstanding works from the Prix Ars Electronica 2011. The DVD presents a selection of prizewinning submissions dealing with current trends. Since its inception in 1987, the Prix Ars Electronica, the world’s most highly remunerated digital arts award, has been an annual barometer of trends in digital creativity, and continues to be a trailblazer in discovering innovative art. Thirty-five international experts judge thousands of submissions in the categories Computer Animation / Film / VFX, Digital Music &amp; Sound Art, Interactive Art, Hybrid Art, Digital Communities, [the next idea], the voestalpine Art and Technology Grant, and the youth competition, u19—freestyle computing.&#13;
&#13;
Ars Electronica Festival, Linz, September 1–6, 2011</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1132/5/CyberArts%202011%20_%20Contemporary%20Art%20_%20Hatje%20Cantz.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Hatjke Cantz</dc:publisher><dc:source>978-3-7757-3181-2</dc:source><dc:subject>music</dc:subject><dc:subject>tech</dc:subject><dc:title>Contribution of artist statement and musical composition on CyberArts 2011, as a result of honorary mention at Prix Ars Electronica 2011.</dc:title><rioxxterms:author>Reeder, Philip</rioxxterms:author><rioxxterms:publication_date>2011</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:1131
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:1000
Date: 2015-06-02

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>The project focused on an assessed team element of a level 4 module called ‘Materials Technology’. Student teams researched an assigned material to demonstrate its properties, applications, environmental impacts, etc through the analysis of manufacturing processes of a chosen product. The research was traditionally presented using PowerPoint and the project progress tracked through group tutorials. However, the rationale for this project was to explore the potential of online collaboration (through the VLE, Mahara) to improve student engagement, improve understanding of material properties and applications, and improve the student experience and satisfaction with the module.&#13;
&#13;
Each team collaborated and presented their research using a Mahara page. All materials research was collated and discussed through the software in addition to team meetings in the studio. Group tutorials were conducted around an interactive whiteboard so the Mahara page could receive live annotations and updates in response to tutor feedback. The online collaboration provided flexibility (time/location) in the way students contributed to the team project. &#13;
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The process facilitated a collaborated outcome rather than a collection of individual contributions. A focus group gathered significantly more positive comments, than negative, in relation to student experience and satisfaction. When compared with the control project (team research presented through PowerPoint) a higher proportion of students felt that they had developed a good understanding of material properties and applications, and the overall module experience had considerably improved.&#13;
&#13;
The approach demonstrated a higher level of student engagement through the flexibility of online collaboration and greater overall student satisfaction. The teaching model fostered wider participation and encouraged shared peer learning of material properties and applications. The research led to further investigation into the potential for online design studios to encourage greater peer interaction through collaboration, and sharing and enhancing ideas, skills and processes.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/1000/1/Materials%20Education%20Symposia_Poster_SMALL.pdf</dc:identifier><dc:language>en</dc:language><dc:source>7th International Materials Education Symposium</dc:source><dc:subject>edu</dc:subject><dc:subject>research</dc:subject><dc:subject>tech</dc:subject><dc:title>Enhancing student experience through online collaboration</dc:title><rioxxterms:author>Andrews, Simon</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:852
Date: 2015-03-02

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&#13;
An in-depth view of the illustrator's role in the production of non-fiction books for young audiences. Particular emphasis placed on authorship and creative ownership; context, theme and audience; conceptualisation and sequencing.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/852/1/GNSI%20Conference.jpg</dc:identifier><dc:language>en</dc:language><dc:source>Guild of Natural Illustrators Annual Conference</dc:source><dc:subject>illustr</dc:subject><dc:title>Writing and Illustrating Non-Fiction Books for Children</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:848
Date: 2015-03-02

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A provocative thesis advocating a need for illustrators and other creative visual communication practitioners to acquire a greater knowledge base through focussed scholarship and an increase in intellectual capacity.</dc:description><dc:format>application/vnd.openxmlformats-officedocument.wordprocessingml.document</dc:format><dc:identifier>http://repository.falmouth.ac.uk/848/7/Communication%20Arts%20and%20the%20Polymath%20Principle%20%28Paper%29.docx</dc:identifier><dc:language>en</dc:language><dc:publisher>University of South Australia</dc:publisher><dc:source>978-0-9923943-1-8</dc:source><dc:subject>illustr</dc:subject><dc:subject>research</dc:subject><dc:title>Communication Arts and the Polymath Principle: Intellectual Multi-Tasking and the Creation of Knowledge Bearing Imagery</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:publication_date>2013-11</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:799
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:798
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:797
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:796
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:795
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:794
Date: 2017-03-06

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ID: oai:repository.falmouth.ac.uk:721
Date: 2017-04-04

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&#13;
This presentation will describe a research project developed at Falmouth University, UK, which has established a new method of creating glass casting molds directly from 3D computer drawings. Such an approach opens up new creative opportunities as well as eliminating the need for physical mold patterns. It also presents a number of distinctive advantages compared with conventional molding methods.&#13;
The method developed is based on Additive Layer Manufacturing (ALM) technology, a process commonly known as “Rapid Prototyping” or “3D printing”. &#13;
The process is based on a concept where the inner part of the mold is printed on a 3D printer and through a particular post-processing method achieves increased strength and refractory capabilities, &#13;
The method is the result of collaborative research by Gayle Matthias and Tavs Jorgensen, and the project combines knowledge and skills established in studio glass practice with emerging digital fabrication technologies. &#13;
&#13;
Context:&#13;
&#13;
Over the last 5 years the creative use of digital fabrication technologies have developed dramatically. Although some of these processes (such as CNC water jet cutting) have been adopted by a number of glass artists, the field of creative glass in general has seen a relatively modest impact of these new technologies.&#13;
In other creative sectors the use of 3D printing has seen a rapid growth with open source initiatives such as the RepRap project having a dramatic impact. Some methods for 3D printing in glass have been developed but these have so far had significant limitations in terms of the geometries, sizes and materials that can be used - and a commercial service for 3D printing in glass (which was available via the Shapeways Company) has recently been withdrawn. &#13;
Research at University of Washington has also explored 3D printing with glass, both in terms of directly printed glass artifacts and also the production of printed refractory molds.&#13;
However, all of the above mentioned projects differ from the method that we have developed.&#13;
&#13;
Project description and research approach:&#13;
&#13;
We initiated the project in early 2010 as part of our work at the Autonomatic research group, Falmouth University, UK. &#13;
Matthias’ background for undertaking this work is her long career as a glass artist and university tutor in contemporary craft practice. During this career she has utilized a wide variety of kiln-formed glass techniques. In particular she has explored the ceramic shell molding technique in terms of glass casting - work that informed much of the early experiments of this project.  &#13;
Jorgensen initially trained as a craft potter before becoming a designer in the ceramic industry. Latterly Jorgensen has focused his practice on academic research into new digital design and fabrication tools and has become a specialist in this field, although he also maintains a very active creative practice.  &#13;
&#13;
The project started as a series of open-ended creative explorations of the use of various 3D printing technologies in glass practice. Gradually the direction and focus of the project emerged from these initial experiments.&#13;
The project was given added impetus when we received sponsorship from the leading 3D printing company ZCorporation (now part of 3D Systems), and also the glass supplier, Gaffer Glass (NZ) – following the publication of some of our early results. &#13;
&#13;
We view our position as creative practitioners undertaking research and innovation in an field that could previously have been seen as the preserve of specialist engineers, as one of the key element of the success of this project. We argue that this position enables us to contribute with different perspectives, knowledge bases and approaches in the innovation scenario. &#13;
&#13;
We consider that another key element in the development of this molding method is the combination of our specialist knowledge of studio glass and digital fabrication technology.&#13;
&#13;
Description of method and potential applications: &#13;
&#13;
The method that we have developed is based on the widely available ZCorporation 3D printing technology, using the standard build medium (the ZP 150 powder) to build thin ‘inner mold skins’ which is then strengthened by the application of additional refractory materials. This enables the resulting molds to gain structural integrity to withstand the temperatures needed for glass investment casting.&#13;
&#13;
The molds produced via this method are thin (6 - 12mm in total wall thickness) but very strong. Apart from eliminating the need for a physical mold pattern, the process has a number of other potential advantages compared with conventional molding approaches. &#13;
In particular the much-reduced mold wall thickness means that lower firing temperatures and shorter firing cycles can be used. The potential for using lower kiln casting temperatures opens up the possibility that a wider range of glass types can be used, and we are currently undertaking a series of promising tests with recycled lime-soda based glass.&#13;
&#13;
Initially our main target sector for the method was the creative studio glass practitioners, but we have also received strong interest in the process from large-scale industrial glass producers.&#13;
&#13;
Equally, we are also currently exploring the potential of developing the technique for a particular medical application concerning the creation of glass moulds for growing human tissue for reconstructive surgery. This work is due to be undertaken in collaboration with one the UK’s leading research hospitals. We see this development as evidence that the knowledge developed creative glass practice can be highly valuable in a wider innovation scenario, and a strong argument for exploring increased collaboration with practitioners from a wide range of fields. &#13;
&#13;
Initial results from this project were been presented at the ‘Time Compression Technologies’ Conference and Expo in the Ricoh Arena, Coventry, UK in October 2010 and at the Victoria and Albert Museum, London, UK in January 2012.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/721/1/Jorgensen%20Matthias_glassmoldinnovation_text%202.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>The Glass Art Society</dc:publisher><dc:source>0692267484</dc:source><dc:subject>craft</dc:subject><dc:subject>digital_tech</dc:subject><dc:subject>glass</dc:subject><dc:title>Glass Mould Innovation Through Collaborative Research- Combining Studio Glass Knowledge with New Approaches in Digital Fabrication</dc:title><dcterms:dateAccepted>2014-03-20</dcterms:dateAccepted><rioxxterms:author>Matthias, Gayle, Matthias,</rioxxterms:author><rioxxterms:author>Jorgensen, Tavs</rioxxterms:author><rioxxterms:publication_date>2015-02</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>AM</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:688
Date: 2015-03-12

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&#13;
This artefact was included in New Glass Review 35, published in spring 2014, an annual survey of contemporary glass undertaken by The Corning Museum of Glass, Corning, USA. 930 individuals and companies from 46 countries submitted 2,707 works, the 100 objects featured in the review were selected by an international jury of four significant curators and artistic directors in the field of glass, including the curator of Modern Glass at Corning Museum, US. Paul Haigh, Principal, HAIGH Architects and Designers commented in his juror's statement,  "The primitive compositional elements in Anatomical Deconstruction VII by Gayle Matthias suggest an ambiguity of scale from the intimate to the monumental'. Only six other British artists were featured. Images of this work are held in the Rakow Research Library and are available to the public online.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/688/1/Matthias_Gayle_Anatomical%20Deconstruction%20VII.jpg</dc:identifier><dc:language>en</dc:language><dc:source>Corning Museum of Glass</dc:source><dc:subject>glass</dc:subject><dc:subject>sculpture</dc:subject><dc:title>Anatomical Deconstruction VII</dc:title><rioxxterms:author>Matthias, Gayle</rioxxterms:author><rioxxterms:contributor>Cook, Simon</rioxxterms:contributor><rioxxterms:publication_date>2014</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version><rioxxterms:version_of_record>ISSN 2075:469X</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:667
Date: 2017-07-14

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&#13;
Soil is a material on which – even in the age of the internet – the whole of civilization depends. Along with clean air and fresh water, it is one of the fundamental components that support life on this planet. Without a healthy layer of soil, life and human society as we know it would not be able to function. Along with most of Earth’s natural resources soil can be considered finite; it is non-renewable on a human time scale.&#13;
&#13;
Despite our knowledge of this fact, mankind continues to misuse and abuse this fundamental matrix of life. Climate change and pollution, erosion and desertification are all having a devastating impact. Although the word ‘culture’ has its metaphorical roots in the improvement of soil, we have lost that fundamental connection, and healthy soil is disappearing fast.&#13;
&#13;
Inspiring people through art and literature on environmental issues can do what conventional advocacy often struggles to do: kindle the imagination, open minds to creative possibilities and engage communities. The Centre for Contemporary Art and the Natural World (CCANW), in collaboration with Falmouth University’s RANE (Research in Art, Nature and Environment) research group and MA Art &amp; Environment; and other national and international partnerships, is delivering a programme of events during 2013 – 2016. These exhibitions, residencies, workshops and socially engaged activities, which include the Soil Culture Forum, will re-examine the cultural and environmental importance of soil and the underlying issues.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/667/1/SoilCulture_A4_Poster.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://ccanw.co.uk/soil-culture-forum.htm</dc:relation><dc:relation>https://www.falmouth.ac.uk/content/soil-culture</dc:relation><dc:subject>arch</dc:subject><dc:subject>ceramics</dc:subject><dc:subject>craft</dc:subject><dc:subject>drawing</dc:subject><dc:subject>fash_text</dc:subject><dc:subject>geo_arts</dc:subject><dc:subject>graph_arts</dc:subject><dc:subject>illustr</dc:subject><dc:subject>phil_arts</dc:subject><dc:subject>photography</dc:subject><dc:subject>religion_arts</dc:subject><dc:subject>research</dc:subject><dc:subject>sci</dc:subject><dc:subject>sculpture</dc:subject><dc:subject>symbolism</dc:subject><dc:subject>writing</dc:subject><dc:title>Soil Culture Forum</dc:title><rioxxterms:author>Montag, Daro</rioxxterms:author><rioxxterms:author>Osmond, Matthew</rioxxterms:author><rioxxterms:author>Allen, Jude</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:573
Date: 2017-08-29

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&#13;
The physical artefacts on show were the result of a three year research project investigating the relationship between the surface aesthetic of digital designed and manufactured craft objects and the underlying topological elements commonly found in 3D Computer Aided Design software. The current model used by 3D CAD is limited and relies on a singular method of triangulation to describe 3D form; as a result the objects created using these technologies exhibit certain similarities in their visual surface aesthetics. &#13;
&#13;
Building on tessellations described by mathematician McNeill (2002), the research involved new types of topology being created and tested against existing standard tessellations to establish their effect on surface aesthetic.&#13;
For each new tessellation a series of test pieces were produced using a Computer Numeric Controlled milling machine. This systematic testing was needed to accurately evaluate how the digital files behaved in the physical world, and resulted in the creation of a unique resource library of milled surfaces.&#13;
&#13;
This research is the first to consider the implications of topology in relation to the surface aesthetics of objects; it aims to counter the dominance of triangulated surfaces as exhibited in work by Riedelbauch (2004). The research has led to the development of new tessellations which dramatically expand the opportunities for craft practitioners to create new and unique surface aesthetics.&#13;
&#13;
This research also has implications beyond the field of craft practice to other disciplines utilising CAD for the creation and testing of 3D forms, such as engineering and architecture.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/573/1/Masterton%20Star%20Tessellation.jpg</dc:identifier><dc:language>en</dc:language><dc:relation>http://onviewonline.craftscouncil.org.uk/4040/object/M84</dc:relation><dc:source>Future Voices: Celebrating Diversity</dc:source><dc:subject>730</dc:subject><dc:title>Star Tessellation</dc:title><rioxxterms:author>Masterton, Drummond</rioxxterms:author><rioxxterms:publication_date>2007-07-04</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:416
Date: 2015-02-09

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The exhibitions represent the best contemporary, international natural science and cultural illustration. It comprises selected entries from as many as 40 countries.&#13;
&#13;
The majority of work selected (including the Purchase Prize Awards), is part of an on-going research project. This is the production of visual material that presents the creation and interpretation of new knowledge related to elements of evolution and palaeo fauna; an interface between science and art- a combination of scientific research and illustration practice. It is the production and presentation of imagery representing material that is new to science and not previously visualised.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/416/1/image001.jpg</dc:identifier><dc:language>en</dc:language><dc:source>Focus on Nature</dc:source><dc:subject>illustr</dc:subject><dc:title>Focus on Nature</dc:title><rioxxterms:author>Male, Alan</rioxxterms:author><rioxxterms:publication_date>2006-04-20</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:411
Date: 2017-09-15

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Max10 forms part of an ongoing research project whose focus is to explore ways of setting up alternative means for an audience to engage art projects. Max10 was structured so that it was wholly reliant on audience participation to determine what work was shown. If there was no audience, no participation then no projects would be shown.&#13;
&#13;
Max10 consisted of 100 artist films made available on individual show-reels so the audience were given the autonomy to browse through them, select any film they wished to view, and do this for as long as they liked. They could request for specific films to be projected in the large-screen area or view the works at one of four independent viewing areas.</dc:description><dc:language>en</dc:language><dc:relation>http://www.digitalpeninsula.org/max10-newlyn-art-gallery</dc:relation><dc:source>Max10</dc:source><dc:title>Max10@Newlyn</dc:title><rioxxterms:author>Webster, Andy</rioxxterms:author><rioxxterms:author>Atkinson, Jane</rioxxterms:author><rioxxterms:author>Paige, Stephen</rioxxterms:author><rioxxterms:publication_date>2004-10-01</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:359
Date: 2017-03-06

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>This video work, comprising performance, poetic writing and music, is the latest in an ongoing collaboration with David Prior, that is concerned with the compositional possibilities in working music and writing out from common 'performed' source material. In each case, the dynamics of a performed action (simple and repeated), in this case 'spinning', is used to shape the composition and thematic of concurrent writing and music making processes.</dc:description><dc:language>en</dc:language><dc:source>On What it Might Mean to be Spinning; International Beckett Festival</dc:source><dc:title>On What it Might Mean to be Spinning</dc:title><rioxxterms:author>Lynch, Larry</rioxxterms:author><rioxxterms:author>Prior, David</rioxxterms:author><rioxxterms:contributor>Hall, John</rioxxterms:contributor><rioxxterms:publication_date>2008</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:356
Date: 2017-03-03

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><ali:license_ref>http://creativecommons.org/licenses/by-nd/4.0</ali:license_ref><dc:description>Beastie is a participatory performance for 6-10-year olds, by Lone Twin, Whelan’s and Gary Winters’ collaborative performance company (the duo are credited equally for all work). Beastie was commissioned by the Barbican, London, Steirischer Herbst, Graz, Corn Exchange, Newbury and was supported by The National Lottery through Arts Council England. The performance premiered in the UK at the Barbican before moving onto a European premier at Steirischer Herbst. Initial research in 2002, undertaken as Whelan and Winters worked on a project for television with Ragdoll Ltd (Teletubbies, In The Night Garden), revealed children’s outdoor play and exploration to be problematised, understandably, by densely populated urban space. In 2010 Lone Twin returned to this issue with a series of workshops with children in Stratford’s Discover Story Centre, exploring ideas of urban beasts – fictional versions of rural beasts mysteriously roaming the country’s wilder corners. The production, informed by material generated by sessions at Discover, begins in a theatre before spilling out into the real world as the creature, constructed and narrated into life by the young audience, is shown their world on a tour guided by the children themselves: ‘(the children) are not performing for their families; rather, they got lost in the action’ (The Irish Times, 06/10/13). The ‘beast’, a £40,000 costume worn by a performer, creates a confounding moment for adults who accidently happen upon the group, an event that is visibly empowering for the young participants. Beastie continues to tour internationally and has been programmed twice at the South Bank Centre’s Imagine festival (2011, 2012). It is the subject of a study on innovative children’s theatre by Susanne Schittler (Universität Koblenz-Landau) and gave rise to two further Lone Twin children’s projects, Cabaret Simon (The Barbican, 2010) and The Lost Neighbour (2013, The South Bank Centre).&#13;
&#13;
Recently versions of Beastie have been shown at The Corn Exchange, Newbury; Chats Palace; Boom Festival, ANTI Contemporary Art Festival, Finland, Liverpool's Unity Theatre, Spill Festival of Performance, Ipswich and In Between Time Festival, Bristol.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/356/2/SPILL%20Beastie%20draft%202.JPG</dc:identifier><dc:language>en</dc:language><dc:source>Beastie</dc:source><dc:subject>drama</dc:subject><dc:subject>theatre</dc:subject><dc:title>Beastie 2010 - 2017</dc:title><dcterms:dateAccepted>2010</dcterms:dateAccepted><rioxxterms:author>Whelan, Gregg</rioxxterms:author><rioxxterms:author>Winters, Gary</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:353
Date: 2017-03-02

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><ali:license_ref>http://creativecommons.org/licenses/by-nd/4.0</ali:license_ref><dc:description>ANTI - Contemporary Art Festival is an international contemporary arts festival presenting site-specific works made for public space. ANTI Festival presents live, sonic, visual and text-based art from today’s most exciting and innovative artists in the Finnish town of Kuopio. Free of charge or audiences ANTI Festival is a meeting place for artists and audiences fascinated by how art shapes and responds to the places and spaces of everyday life.&#13;
&#13;
ANTI Festival began in 2002, with Gregg Whelan joining Johanna Tuukkanen as Co-Artistic Director in 2007. &#13;
&#13;
The ANTI Festival International Prize for Live Art was launched in 2014. Supported by the Saastamoinen Foundation the prize, of 30,000 EURO was awarded to Canadian artist Heather Cassils. Announcing the winning artist chair of the jury, Ruth Mackenzie said ‘This artist creates profoundly impactful imagery… Michelangelo and all who followed would be rightly awed, as we the jury were, by this artists’ ability to present the human body as art’.&#13;
&#13;
Across 2007 – 2013 Whelan and Tuukkanen have commissioned over 120 artists and presented seven conferences with contributions from leading international artists and academics. In 2010 to celebrate a decade of festivals ANTI published ANTIVERSARY - Performance, Live Art and Site-Specificity a collection of articles by international academics, artists and writers detailing the festival’s history and impact on the practice and study of site-specific performance making.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/353/1/ANTI%2009.jpg</dc:identifier><dc:language>en</dc:language><dc:source>ANTI Contemporary Art Festival</dc:source><dc:subject>dance</dc:subject><dc:subject>drama</dc:subject><dc:subject>edu</dc:subject><dc:subject>management</dc:subject><dc:subject>music</dc:subject><dc:subject>performance_music</dc:subject><dc:subject>public</dc:subject><dc:subject>sound_art</dc:subject><dc:subject>sports</dc:subject><dc:subject>theatre</dc:subject><dc:title>ANTI Contemporary Art Festival 2007 - 2013</dc:title><dcterms:dateAccepted>2007-02-01</dcterms:dateAccepted><rioxxterms:author>Whelan, Gregg</rioxxterms:author><rioxxterms:author>Tuukkanen, Johanna</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:325
Date: 2017-02-24

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>This research is built around the following premise: Shostakovich's music is often described as being energetic. But what is meant by 'energy' in music? After setting out a broad conceptual framework for approaching this question, I highlight sources of the perceived energy in Shostakovich's symphonies, describing also the historical significance of energeticist thought in Soviet Russia during the composer's formative years. Three broad approaches are adopted for the first time: Boleslav Yavorsky’s theories are used to consider melodic-harmonic motion; Boris Asafiev's work is used to describe form as a dynamic process; proportional analysis is used to reveal numerous formal symmetries and golden sections. The book ends with a detailed examination of why a piece of music might contain golden sections., The book is published by Ashgate, one of whose peer reviewers described it as ‘opening a new direction in Shostakovich studies'.  Another described the final chapter as posing ‘new possibilities in regard to understanding the Golden Section and its applicability to analysis’. Leading Russian music historian Francis Maes has reviewed the book in The Russian Review (Vol. 72-4, 2013, p669ff). Describing the book as  offering ‘new arguments to defend Shostakovich’s music’, he concludes that ‘Rofe’s study is a welcome addition to Shostakovich scholarship and will certainly influence the analysis of his music…this is a book that could open new vistas.</dc:description><dc:format>text/plain</dc:format><dc:identifier>http://repository.falmouth.ac.uk/325/1/9781409407454</dc:identifier><dc:language>en</dc:language><dc:publisher>Ashgate</dc:publisher><dc:source>9781409407454</dc:source><dc:title>Dimensions of Energy in Shostakovich's Symphonies</dc:title><rioxxterms:author>Rofe, Michael</rioxxterms:author><rioxxterms:publication_date>2012</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:320
Date: 2017-02-27

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      <identifier>oai:repository.falmouth.ac.uk:320</identifier>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Chroma is a two-part, sound installation for six cassette players.  The piece both builds upon approaches to the sculpting and framing of ‘surplus’ noise evidenced in liminal’s (Frances Crow and David Prior) Organ of Corti, but here, the focus moves from the acoustic mediation of environmental sound to an examination of the role of noise in recording media. The installation was made for the Paul Stolper Gallery, London.&#13;
&#13;
Contributing to the recent upsurge in both scholarship and practice on the theme of noise, Chroma juxtaposes the two meanings of the term – as unwanted sound and as a sound that has no discernable pitch – in dialogue with each other.  Part one of the piece plays six ostensibly 'static' noise colours through six tape players.  While these recordings interact with each other within the acoustics of the gallery, they are also interacting with the technology that carries them: the cassette tape and the 6-watt speaker. In this way, Chroma: Interactions of Noise, uses these coloured noises both as the fabric from which to sculpt the gallery space and as the material from which to make a homage to the medium of tape itself.&#13;
&#13;
Part two of the installation, Other Places, contrasts the focus on interactions in space with a focus on temporal evolution.  Originally commissioned by Lunapark Ensemble (NL) for a concert listening environment, Other Places evolves as a musical work, using field recordings of noise: air conditioning, wind, and in particular the noise of slide and 8mm projector fans, as the basis for an immersive tableaux of sculpted noise.</dc:description><dc:language>en</dc:language><dc:relation>https://vimeo.com/77368430</dc:relation><dc:relation>https://www.flickr.com/photos/liminal_sound/sets/72157635434090391/</dc:relation><dc:source>Chroma: Interactions of Noise</dc:source><dc:title>Chroma: Interactions of Noise</dc:title><rioxxterms:author>Prior, David</rioxxterms:author><rioxxterms:author>Crow, Frances</rioxxterms:author><rioxxterms:publication_date>2013</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:274
Date: 2017-05-12

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>A monograph on the history of the Latin alphabet, contextualising this alphabet in the development of other major alphabets and using rich information design to present the subject in a manner hitherto unexplored. A reiterative focus is the Latin alphabet’s pivotal significance among humankind’s greatest achievements. The book proposes a unique synthesis of related disciplines to explore why alphabets look as they do, their adaptations following print’s invention, and how the Latin alphabet would be if certain influences differed., Designed and illustrated by the author, the volume comprises charts tracking alphabets’ maturations and connections to oral tradition. Although the focal point is the Latin alphabet, a broad related history is explored, encompassing ancient calligraphic traditions to semaphore, to bar codes and binary code. This methodology exposes the disciplinary cross-pollination — design, typography, anatomy, phonetics, sociology, linguistics, psychology and more — that gave birth to one of our civilisation’s oldest and most powerful technologies. The work elucidates connections between speech and written language with attention paid to the speech organs, the physics of articulation, and the naming and shaping of letters., Shapes for Sounds culminates years of research into the history and development of Latin orthography. The book has been extremely well-received in the international design press; apart from the book’s international status as a benchmark of scholarship in its field, it has acquired separate status as an exemplar of excellence in graphic design, winning the AIGA award and becoming part of the AIGA Design Archives at the Denver Art Museum and The Butler Library, Columbia University, USA.</dc:description><dc:language>en</dc:language><dc:publisher>Mark Batty Publisher</dc:publisher><dc:source>978-0979966620</dc:source><dc:title>Shapes for Sounds</dc:title><rioxxterms:author>Donaldson, Timothy</rioxxterms:author><rioxxterms:publication_date>2008</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:259
Date: 2016-07-04

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><ali:license_ref start_date="2012">http://creativecommons.org/licenses/by-nc-nd/4.0</ali:license_ref><dc:description>‘KOM’ is a digitally designed and produced craftwork. It is the first demonstration of complex asymmetric four axis CNC milling by the author and is highly innovative due to the complete reciprocity of all aspects of the design and making process.&#13;
&#13;
The facilities and access available to the author at Falmouth University have enabled his innovative engagement with digital engineering hardware needed to create a one-off craft practice. The author’s development of 3D and textural patterning techniques is the unique amalgam of precise digital processes and the reactive ‘hacking’ of automated production processes such as CNC milling.&#13;
&#13;
This particular method and level of engagement is unique in the UK and possibly internationally as most designers and craft makers either have not recognised the impact of this stage of the creation process or have been forced to subcontract their designs when using complex, foreign or expensive processes. The author’s work is championed by the Crafts Council. ‘ST14’ (2007) and ‘Terraincup’ (2005) were purchased for the permanent collection in 2011 supported by Sir Nicholas Goodison (former Chair of the Crafts Council). The objects have been used as to demonstration the pinnacle of digital craft practice at Crafts Council exhibitions. The author gave a public lecture to communicate his creative approach to digital processes at the Northern Design Festival (2013)., ‘KOM’ was purchased by Shipley Art Gallery with the aid of Northern Rock funding after it was exhibited for the first time at ‘Collect’, 2012. ‘Collect’ is an international showcase of Contemporary Craft from high profile Craft Galleries, selected by the UK Crafts Council and located in the Saatchi Gallery, London. The work is on permanent display at Shipley Art Gallery, Gateshead.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/259/1/KOM.JPG</dc:identifier><dc:language>en</dc:language><dc:source>Collect</dc:source><dc:title>KOM</dc:title><rioxxterms:author>Masterton, Drummond</rioxxterms:author><rioxxterms:publication_date>2012</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:254
Date: 2017-03-09

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Publication.&#13;
Contributors: Graham Allen, James Arnett, Abraham Asfaw, Anne Attali, Katarzyna Bazarnik, Derek Beaulieu, Paul Becker, Christian Bök, Shanna Bosley, Stephen Bury, Chloe Briggs, Kate Briggs, Maurice Carlin, Jennifer Carr, Guillaume Constantin, Jamie Crewe, Véronique Devoldère, Lucia della Paolera, Craig Dworkin, Zenon Fajfer, Helen Frank, Céline Guyot, John Hamilton, Sharon Kivland, Gianni Lavacchini, Anna-Louise Milne, Forbes Morlock, Simon Morris, Amy Pettifer, Lucrezia Russo, Olivia Sautreuil, Nick Thurston, Jane Topping, Madeleine Walton, Patrick Wildgust, Robert Williams and Jack Aylward-Williams, Sarah Wood, Gillian Wylde.&#13;
&#13;
There is nothing like The Nabokov Paper. Now more than ever we need critical writing that provokes and excites. The responses here included do that and more. They are answers that question, and that offer ‘an invitation, or incitation’ to read and to respond in kind. The Nabokov Paper brings the news. Read all about it.”&#13;
&#13;
–Stephen Benson, University of East Anglia and co-author of Creative Criticism: An Anthology and Guide&#13;
&#13;
Pages: 82 and 83&#13;
&#13;
&amp; Exhibition at Shandy Hall (Coxwold) October 26 - November 31, 2013 &#13;
&#13;
Percale Thrip was a video work made for the exhibition. &#13;
Stills from the video were printed in the publication, ‘The Nabokov Paper: An experiment in novel reading’, together with a written text '27. inflow, influerre'.&#13;
&#13;
The project interprets Vladimir Nabokov’s famous class taught at Cornell University, New York State, ‘Literature 311-312: Masters of European Fiction’. Wylde focused on Nabokov’s pedagogic approach to  Franz Kafka’s The Metamorphosis.&#13;
&#13;
The video work highlighted Wylde’s exploratory approaches to ‘processes of performative assemblage(s)’, Wylde’s term articulating super-disciplinary foci including linguistics, philosophies, gender studies, social theories and art practices.  Such approaches draw attention to accumulation, arrangement, movement, and that which is improvisatory, multi-modal or otherwise unpredictable., The work includes live actions for the camera and ‘recycling’ of image, text and audio data through methods of appropriative processes., Following two of Nabokov's questions on Kafka’s work, the project deconstructs, bothers and re-positions any hermetic hermeneutic by appropriating material from Wikipedia factualities and Google image searches. These online operations were disrupted with inappropriate of grammatically incorrect text input generative of aberrant juxtapositions, imagery and sound effects. The machine translation service, Google Translate, was used to dislocate text from one language into another. These ‘incorrect’  activities privilege modes of contingency, multiplicity and overlap to recover online image, sound and text data used to hybridise postproduction filters, transitions &amp; generators.  These ‘performative assemblages’ of ""things"" or pieces of ""things"" parallel ideas of non-linear historiographies, otherings and the hauntological queer of literature, performance art and film.</dc:description><dc:format>image/png</dc:format><dc:identifier>http://repository.falmouth.ac.uk/254/1/Nabokov-cover-222x300%20copy.png</dc:identifier><dc:language>en</dc:language><dc:publisher>Information as material (iam)</dc:publisher><dc:relation>http://www.laurencesternetrust.org.uk/exhibition.php?id=146</dc:relation><dc:source>978-1-907468-20-9</dc:source><dc:title>Percale Thrip</dc:title><rioxxterms:author>Wylde, Gillian</rioxxterms:author><rioxxterms:contributor>Briggs, Kate</rioxxterms:contributor><rioxxterms:contributor>Russo, Lucrezia</rioxxterms:contributor><rioxxterms:publication_date>2013</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:251
Date: 2017-10-03

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>‘Inflate deflate’ is a light sensitive sculpture linked by feedback to the surrounding environment and selected through peer review the award of a solo exhibition at the Ruskin Gallery, Anglia Ruskin University, Cambridge. The exhibition took place in the University Gallery as part of a collaborative initiative by the Global Sustainability Institute, the Cambridge School of Art at Anglia Ruskin University and the artist to raise awareness of discussions related to sustainability.&#13;
&#13;
The aims of the work:&#13;
• To produce artwork critically engaging discourses of sustainability.&#13;
• To practically explore how art can play a role as a dissenting practice that embodies contradictions within the discourse.&#13;
• To extend discussions of fine art’s role within a contexts of ecological crises and change.&#13;
• To test methods which foreground the comic and impotence typically overlooked in the field and to critically engage assumptions embodied in the ignorance of such methods.&#13;
• To extend discussions to suggest discourses beyond solution-driven foci.&#13;
• To draw upon discussions from outside the discipline (including minor literature (Deleuze &amp; Guattari 1994), art as encounter (O’Sullivan 2010), negativism (Toscano 2011), the philistine (Beech, 2002) and the jester (Fisher 2010) to explore how these ideas can be exploited as a critique critically testing and broadening the discipline.&#13;
&#13;
‘Inflate deflate’ comprises inflatable letters spelling ‘sustainable’. Solar panels trickle charge leisure batteries which power fans to inflate the sculpture; the inflation and deflation of the work is dependent on the amount of sunlight available daily. Viewers only fleetingly experience the inflated work and predominately encounter the work collapsed. Deflation foregrounds the apparent failure of the sculpture and its technologies. The work’s materiality performs problems identified with unsustainable living; the work was manufactured in Hong Kong and shipped to the UK. Perceived flaws catalyse discourses of failure, success and problem solving.</dc:description><dc:language>en</dc:language><dc:relation>http://www.campzero.org.uk/andy-websters-inflatedeflate/</dc:relation><dc:source>Inflate/Deflate</dc:source><dc:subject>sculpture</dc:subject><dc:title>Inflate/Deflate</dc:title><rioxxterms:author>Webster, Andy</rioxxterms:author><rioxxterms:publication_date>2012</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:221
Date: 2015-02-09

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ID: oai:repository.falmouth.ac.uk:218
Date: 2015-02-09

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>‘Illustration: Meeting the Brief’ (Bloomsbury 2014): &#13;
‘We are beginning to see a return of the Polymath Principle, in other words, an illustration practice that exudes authority and a breadth of intellectual skills and learning … illustrators will have wide ranging and in-depth knowledge of subject matter and acquire an esteem driven ownership for their work. Examples might be new or original knowledge embedded in their work, literary authorship for fiction, documentation, journalism and commentary’.&#13;
&#13;
This work presents originally-defined criteria and a framework for their implementation. The paper covers three contexts of visual communication practice: ‘Knowledge Exchange and Research’, ‘Commentary’ and ‘Narrative Fiction and Creative Expression’. ‘Polymathy’ is widely endorsed by the creative and communication industries as a growing and relevant currency for employability. The paper analyses ten case studies, each representing a contemporarily relevant advocacy for this multi-disciplinary and creative ownership approach to illustration practice.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/218/1/image001.jpg</dc:identifier><dc:language>en</dc:language><dc:source>CONFIA, First International Conference on Illustration and Animation</dc:source><dc:subject>illustr</dc:subject><dc:title>Illustration, Authorship and the Polymath Principle</dc:title><rioxxterms:author>Male, A</rioxxterms:author><rioxxterms:publication_date>2012</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:177
Date: 2017-05-09

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&#13;
Jane and Patrick Gottelier, founders of the Artwork knitwear line, are the designers who first discovered and developed the fashion potential of indigo yarn. Here Jane reveals their trade secrets for working with indigo-dyed yarns, sharing the denim knit and crochet patterns and techniques that have made the Artwork famous. &#13;
&#13;
Organised according to various locales in Cornwall, England - from the fishing hub of Newlyn to the bustling town of Penzance - Indigo Knits offers more than 25 original patterns that capture the brilliant hues and equally colourful history of Cornwall. Whether it's a Cornish Knit Frock, a Pirate-striped Guernsey, or an Artist's waistcoat, there are denim designs for everyone. There's also a secret on washing, fading, distressing, and producing unique finishes on indigo knits, so that you can truly get to know this mercurial yarn.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/177/1/RR_indigo%20knits%201_190214.jpg</dc:identifier><dc:language>en</dc:language><dc:publisher>Random House</dc:publisher><dc:source>030735220X</dc:source><dc:title>Indigo Knits</dc:title><rioxxterms:author>Gottelier, Jane</rioxxterms:author><rioxxterms:publication_date>2007</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:176
Date: 2015-02-15

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>The alternative dissertation (altdiss) project was lead by Dr Chris Truran, and was part of the MA TV Production course for 2007/08 and 2008/09. The project was funded from both a University College Falmouth learning and teaching fellowship and a small grant from the Centre of Excellent of Media Practice, Bournemouth. The project utilised a bespoke social networking site, originally designed by Dr Chris Truran and Gavin Campball from Diverse Ambition, with development by Computer Minds, Bristol.&#13;
&#13;
In April 2007 Tim Shear was invited to join the project and took over the hosting and admin of the production terms website. Kingsley Marshall also joined the altdiss team for 2008/09 during which time the website and teaching of a full year two semester unit was developed.</dc:description><dc:language>en</dc:language><dc:publisher>Auteur Publishing</dc:publisher><dc:source>2040-4530</dc:source><dc:subject>edu</dc:subject><dc:subject>film_tv</dc:subject><dc:title>AltDiss: Creativity, Reflection and TV Production Practice</dc:title><rioxxterms:author>Marshall, Kingsley</rioxxterms:author><rioxxterms:author>Shear, Tim</rioxxterms:author><rioxxterms:author>Truran, Chris</rioxxterms:author><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:175
Date: 2015-02-15

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Cinematic depictions of real U.S. presidents from Abraham Lincoln to George W. Bush explore how Hollywood movies represent American history and politics on screen. Morgan and his contributors show how films blend myth and reality to present a positive message about presidents as the epitome of America's values and idealism until unpopular foreign wars in Vietnam and Iraq led to a darker portrayal of the imperial presidency, operated by Richard Nixon and George W. Bush. This exciting new collection further considers how Hollywood has continually reinterpreted historically significant presidents, notably Abraham Lincoln, Theodore Roosevelt, and Franklin D. Roosevelt, to fit the times in which movies about them were made.</dc:description><dc:language>en</dc:language><dc:publisher>Palgrave Macmillan</dc:publisher><dc:source>978-0230113282</dc:source><dc:subject>film_tv</dc:subject><dc:subject>hist</dc:subject><dc:subject>public_admin</dc:subject><dc:title>Oliver Stone's Improbable W</dc:title><rioxxterms:author>Marshall, Kingsley</rioxxterms:author><rioxxterms:publication_date>2011</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:172
Date: 2016-07-18

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>“State the problem in words as clearly as possible.” (Eno &amp; Schmidt, 1979)&#13;
&#13;
Oblique Strategies, a set of 100 cards printed with a series of cryptic messages, was first published by Brian Eno and the painter Peter Schmidt in 1975, as a device intended to jog their respective minds in periods of creative impasse.&#13;
&#13;
In a radio interview with Charles Amirkhanian, Eno explained that the cards had evolved from “separate working procedures. It was one of the many cases during the friendship that he [Peter Schmidt] and I arrived at a working position at almost exactly the same time and almost in exactly the same words. There were times when we hadn’t seen each other for a few months at a time sometimes, and upon remeeting or exchanging letters, we would find that we were in the same intellectual position – which was quite different from the one we’d been in prior to that” (1980).&#13;
&#13;
Kingsley Marshall and Rupert Loydell, a musician/writer and poet/painter respectively, explore the notion of the remix through the use of Eno’s own words, drawn from interviews and his own writing, together with critiques of his work and those that inspired it. The collaborators exchanged 200-word pieces of writing in order to construct their paper, with each consecutive response directed by the turn of a card selected from the third edition of the Oblique Strategies deck, issued in 1979.&#13;
&#13;
Through this writing methodology – of the collision and collusion of collaborative writing practices borne by an exchange of electronic letters – coupled with more traditional modes of research, the pair cast light onto the manner with which notions of appropriation, cybernetics and chance have directed Eno’s creative output.</dc:description><dc:language>en</dc:language><dc:publisher>Bloomsbury</dc:publisher><dc:source>978-1441155344</dc:source><dc:subject>digital_music</dc:subject><dc:subject>film_tv</dc:subject><dc:subject>int_film</dc:subject><dc:subject>music</dc:subject><dc:subject>sound_art</dc:subject><dc:subject>sound_design</dc:subject><dc:title>Eno Remixed: Collaboration &amp; Oblique Strategies</dc:title><rioxxterms:author>Marshall, Kingsley</rioxxterms:author><rioxxterms:author>Loydell, Rupert</rioxxterms:author><rioxxterms:contributor>Albiez, Sean</rioxxterms:contributor><rioxxterms:contributor>Pattie, David</rioxxterms:contributor><rioxxterms:publication_date>2016-08-11</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:76
Date: 2017-06-16

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A critique is presented of the epic films "Katyń" and "Pan Tadeusz" (The Last Foray in Lithuania) by Polish director Andrzej Wajda, focusing on themes of nationalism and anti-Soviet political views in the films. Government censorship of films before 1990, Poland's transition from communism to capitalism, and the depiction of World War II historical events in the films are discussed, as well as themes of nostalgia and Polish-Russian relations.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://repository.falmouth.ac.uk/76/1/RR_Dont%20look%20to%20the%20East_130813_nid60.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>University of Illinois Press</dc:publisher><dc:source>07424671</dc:source><dc:subject>film_tv</dc:subject><dc:subject>int_film</dc:subject><dc:title>Don't Look to the East: National Sentiments in Andrzej Wajda's Contemporary Film Epics</dc:title><dcterms:dateAccepted>2013-07-06</dcterms:dateAccepted><rioxxterms:author>Misiak, Anna</rioxxterms:author><rioxxterms:publication_date>2013-12-17</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.5406/jfilmvideo.65.3.0026</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:782
Date: 2017-03-06

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>What forms of knowledge are at stake if we approach running as a mode of enquiry, as an investigative, and in turn, participatory act, a performance in and of the world? Though not at ease when I run - an understatement - I am easily evoking a complex set of social, cultural and political contexts that arguably locate running as the defining body-based practice of humankind. Peggy Phelan asks of choreography, what are the forms of writing that allow us to hold the moving body? Can we ask what forms of knowledge does the running body allow?</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://repository.falmouth.ac.uk/782/1/Run%20Run%20Run%20.jpg</dc:identifier><dc:language>en</dc:language><dc:source>RUN RUN RUN International Festival of Running</dc:source><dc:subject>dance</dc:subject><dc:subject>theatre</dc:subject><dc:title>The Amateur Human: Seeing Running at RUN RUN RUN International Festival of Running</dc:title><dcterms:dateAccepted>2014-06-26</dcterms:dateAccepted><rioxxterms:author>Whelan, Gregg</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:repository.falmouth.ac.uk:722
Date: 2017-03-12

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      <identifier>oai:repository.falmouth.ac.uk:722</identifier>
      <datestamp>2017-03-12T20:21:21Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>All Makers Now? was a two-day conference and Pop Up Exhibition exploring craft values in 21st century production.   Organized by Autonomatic Research Group at Falmouth University the conference raised questions about how, where and why the characteristics of craft merge with those of digital production, rapid prototyping and the superfast information highway.&#13;
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I co-curated the All Makers Now? Pop Up Exhibition with Claire English, co-ordinating, organising and presenting objects in the context of the conference themes.  I was also a member of the peer review conference panel.</dc:description><dc:language>en</dc:language><dc:source>All Makers Now?</dc:source><dc:subject>craft</dc:subject><dc:subject>digital_artefact</dc:subject><dc:subject>digital_tech</dc:subject><dc:subject>public</dc:subject><dc:subject>research</dc:subject><dc:title>All Makers Now? pop up exhibition supporting the conference</dc:title><rioxxterms:author>Matthias, Gayle</rioxxterms:author><rioxxterms:author>English, Claire</rioxxterms:author><rioxxterms:author>Bunnell, Katie</rioxxterms:author><rioxxterms:contributor>Marshall, Justin</rioxxterms:contributor><rioxxterms:contributor>Cleverly, Jason</rioxxterms:contributor><rioxxterms:contributor>Jorgensen, Tavs</rioxxterms:contributor><rioxxterms:contributor>Marton, Helen</rioxxterms:contributor><rioxxterms:contributor>Maughan, Hannah</rioxxterms:contributor><rioxxterms:contributor>Risner, Isabelle</rioxxterms:contributor><rioxxterms:contributor>Cook, Simon</rioxxterms:contributor><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>

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